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The preferred instrument for a young child is piano, because of it's simple layout and ease of playing. The piano layout also makes theory learning easier. Research has shown that learning piano sensitizes young children to pattern, space, and time sequencing, and improves cognitive skills, eye-hand coordination, and spatial reasoning.
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Arguably one of the most popular instruments in the world, the guitar offers a versatility far beyond almost any other instrument. From country to classical, Spanish to jazz, folk to flamenco, pop to rock, from concert stages to campfires, the guitar holds a place in more homes than any other single instrument.
ROMANCERO GITANOThe Tinturin Duo
FANTASYGlenn Tinturin, guitar
AMERICAN PORTRAITNoëlle Compinsky Tinturin, piano
THE TINTURIN DUONoëlle Compinsky Tinturin, piano & Glenn Tinturin, Guitar
TINTURIN PLAYS TINTURINNoëlle Compinsky Tinturin, piano & Glenn Tinturin, Guitar
ROMANTIC MINIATURESNoëlle Compinsky Tinturin, piano
ROMANTIC MINIATURES IINoëlle Compinsky Tinturin, piano
THE COMPINSKY TRIOManuel, Alec & Sara Compinsky
To provide our students with the pinnacle of artistic training and professionalism. To prepare those interested in careers in music, as well as those seeking a simple enjoyment through enhanced understanding of music, guided listening and improved abilities to play an instrument.
Began to study classical guitar at the age of seven with the acclaimed teacher, Guy Horn. At the age of ten, Glenn gave his debut performance as a soloist with the Santa Monica Symphony at the Santa Monica Civic Auditorium. More ...Phone: (909) 337-3811
Noëlle Compinsky Tinturin
Originally from Los Angeles, pianist, Noëlle Compinsky Tinturin has performed as soloist, accompanist, in orchestras, and as a chamber music artist extensively throughout North America and Europe. More ...Phone: (805) 419-4229
Started lessons in piano at the age of seven. His first teacher was his father, well-known composer, Peter Tinturin. Lenny gave his first concert at the Stairway to the Stars concert series at Barnum Hall at the age of ten ... More ...Phone: (949) 933-8474
One of the most challenging aspects of reading music is not just figuring out which notes to play, but when to play them – in other words, reading the rhythm. In intermediate to advanced music, there will be many different note and rest values. How to count them correctly?
I have developed a system that, when used correctly, always works. After checking and understanding the time signature, analyze the rhythm by first identifying the strong beats. Look for the largest note and rest values first, even if it means starting at the end of the measure and going backwards.
You can use numbers to identify the beats, but you may end up confusing them with the finger numbers, so I find it best to just draw a vertical line through both staves (for piano music) at the beginning of each beat. Remember that notes that are beamed together, such as four 16th notes, a triplet, or any combination of 8ths, 16ths, and 32nd notes, usually start at the beginning of a beat, and generally last for a whole beat.
Don’t ignore the rests! They have the same time value as their corresponding notes, and must be given their full value. Multiple voices in one staff must also include any rests that line up vertically with the other voice.
As you all know, you can’t do this without counting, and the more complex the rhythm is, the more important it is to count out loud. After you have marked all the counting in the score, start by clapping the rhythm as you count out loud. When you can actually hear yourself counting the beats (1e&a, etc.), you can keep track of what beat you are on and what part of the beat each note or rest falls on.
Analyzing the rhythm in this way is like putting a jigsaw puzzle together – one piece at a time. It can be fun to discover the music hidden within the score.